An exporter, but now a passive consumer too, of a fashion previously only imported from the is- lands of the so-called, cultural tourism, from the end of the last century, with the establishment of a free market economy, and with the global mix- ing of different styles as a result, the West, isn't anymore the trend setter of the world's fashion standards it once was. Two hundred years back, at the beginning of the nineteenth century, the French military cam- paign in Egypt had created a trend of Pharaonic décor, whereas the opening of the kingdom of Japan half a century later, a fad for Japanese mo- tives that amongst other, we can also find in the paintings of Van Gogh.
The fashion's dependence on art, photography and film, for its visual references, is utterly diffu- sive. It's ability to exploit other cultural forms is a testimony of its power to influence the way art and culture are thought. When all is said, fashion continues to be that motor for cultural change because of its obsolescence. After all, the truth of fashion, we could say, is its very subjugation to temporality; its coming out of fashion. 
The six models in this collection, as if by an in- tervention of Olympian powers, the clothes had burgeoned from their bodies, like in the fantas- tic verses of Ovid's myths about transformations of bodies in shapes of different kind. There's an arrow hail of references that precipitates from their Nefertiti presence, alluding to an array of stylistic varieties; from deco to constructivism, ethnic to cybernetic, gravely impressive to dys- topian punk. Are these naiads daughters of tribal provinces and pastoral legends, or are they sin city dominatrices of masochistic pleasures and humiliation. It is difficult to know. Veiled with 
ambivalence and impregnated with sensual opu- lence, to my humble eye, they are a a flawless embodiment of the transcendent of female en- ergy. 
Rudina Xhaferi is a body architect, a builder of epic heroines and a subtle political dramatist. With pink feathers that were once eyelashes, and the real-hair-forged crown, she renders perme- able the membrane between body and clothes, erecting metaphors of fashion and sex, plastic surgery and transplantation, body modification and ethical precedents of biogenetical revolu- tion. Artisanal manicure going that extra step, and compositions borrowing from the typograph- ical forms, are only a few of the many elements of Rudina Xhaferi's unique process of creation. A process that takes the uniqueness of each living model as a starting point, rather than drawings on paper, making her fashion a personal interven- tion, and our collision with the final results, an awe inspiring experience. 
Some day, in a not so distant future, we will look at this marvelous collection as a milestone of Kosovan fashion design. An Achilles that took no prisoners from the Balkan psyche, nor became a hostage of subaltern mediocrity.
Genc Kadriu
 
HEAD PIECES, HAIR DESIGN, 
MAKE-UP, BODYPAINTING, 
NAILS AND CLOTHES
RUDINA XHAFERI

MUSIC
PËLLUMB BALLATA
ARMEND XHAFERI
HOMEBASESOUND

VIDEO
YLL ÇITAKU

MOTION GRAPHICS
ARIAN REXHEPI

PHOTOGRAPHY
JETMIR IDRIZI

IMAGE EDITING
AHMED HUDUTI

HAIR STYLING
ARJETA SHALA

GARMENT SEWING
FADIL SAHITI

MODELS
BULËZA XHAFERI
RINA NIKQI
BLERTA ISMAILI
TEUTA KRASNIQI
JETA MULAJ
HANA NIXHA
LEONORA REXHEPI

FOREWORD
GENC KADRIU

DESIGN
NITA SALIHU